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Originally Posted by Popup-Box
I might understand what you're saying Ned. I've just read more about the scale. It seems like you have to re-arrange the scale as the chords change.
Let's say there is such a thing as the Bebop scale. When playing over the C chord, you use C Major Bebop. Then there's the G chord; you use the G Major Bebop (or maybe G Dominant Bebop), then the F chord: F Major Bebop, etc.
Passing tones to fit the given chord.
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No, let's
not say there's such a thing as a "bebop scale". Let's say all you have to do is know what key you're in, all the major and minor scales, and what chords are native to each key (because you may encounter chromatic chords), and that this knowledge has to be second nature to you. Then add chromatic passing tones, neighbor tones, appogiaturas, suspensions, retardations, cambiatas, and escape tones at will, depending on what seems appropriate at the time in context.
Mozart used the "bebop" scale, this set of pitches, that is, as much as Charlie Parker, for crying out loud.